Kickended by Silvio Lorusso is online database artwork archiving the Kickstarted campaigns that got not even a single penny. This competitive aesthetics of failure has been able to attract the attention of major national newspapers (from the British “The Guardian” to the Italian “Corriere della Sera”).

Graphic Constellations: Visual Poetry and the Properties of Space, it’s an exhibition celebrating the 50th anniversary of the First International Exhibition of Concrete, Kinetic and Phonic Poetry held in Cambridge in late 1964. Curated by Bronac Ferran and Will Hill at the Ruskin Gallery in Cambridge, UK (Image: ‘Poemkon=D=4=Open=Apollinaire’).

The Pirate Bay computers and servers have been seized by Swedish Police on a data center in Nacka (Greater Stockholm). It’s offline since December 9. http://torrentfreak.com/swedish-police-raid-the-pirate-bay-site-offline-141209/

“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.

Matt Brailsford used a modified old tape player as interface to this Raspberry Pi + Spotify Media Server, so listener can use the player (and the cassettes) as physical interface to the different playlists.

The MIT Press , English, 464 pp., ISBN 978-0262014960
This book is a small gem among the many dealing with the history of media art. Stephen Jones has undertaken an excellent and extensive research project, digging not only into his valuable personal archive of Australian media art (patiently assembled over decades) but also sifting through public libraries and private collections. This is neither a dispassionate nor pretentious academic work. It is, moreover, an extremely rigorous investigation – the result of years of passionate personal involvement. He begins with the dawn of computer arts in the late fifties and ends with the milestone exhibition “Australia 75″, framing events in Australia within an international context. As the author affirms, the domestic scene was not isolated during this period, but actively in touch with contemporary entities in Europe and the U.S. What makes this work impressive is the intertwined history of early electronic devices and the art that developed along with them. Rather than simply ‘instructive’, the book reveals itself as an essential reference point for understanding this time period. We learn that “it is the display technologies that govern what kinds of art are possible and how it will be seen.” Every artwork is effectively contextualized in terms of contemporary festivals, exhibitions, and publications on one side and technical innovation and experiments on the other . The book is fully enjoyable, with plenty of historical material, including never-seen-before original pictures that are unquestionably inspiring.